• 10 1st Alto Sdkophone/Spprano Saxophone Parts

• Sob Chord Changes

• Performance Tips/Suggestions from Gordon Goodwin and Eric Marrenthal

« Transcribed Sobs

JA
GORDON GOODWIN'S
BIG
Series
A
s a young musician, I can remember how exciting it was
to advance to each successive level because it meant I
was getting to play with highly skilled musicians. That's
the secret to improving your game—play with musicians
who are better than you. Even though it can be a little intimidating
at times, or even embarrassing a few times in my case, spending
time paying your dues with accomplished players is a great way to
accelerate your musical growth. Accordingly, I believe this book
will provide you with a unique opportunity.
I count myself as one lucky guy, to lead a band with the caliber
of musicians who make up the Big Phat Band. The players in the
band are uniquely skilled and are without exception, masters at
playing big band jazz in a variety of styles. They fearlessly attack
the most difficult material I throw at them. Not only do they
routinely achieve technical mastery of these charts but they also
elevate the music to a new level beyond the notes on the page.
The Big Phot Band Play-Along Series gives you the opportunity
to sit in with outstanding players to improve and measure your
own ability to play in a big band. Make no mistake—the music in
this book is challenging. The Phat Band has been playing these
charts for years, and it still keeps us on our toes! But if you hang
in there and keep at it, you will make huge strides toward the
exhilaration and art of playing in a big band, along with becoming
a stronger musician.
There are some minor alterations from the original published
charts. For example, I added some inner trumpet lines to the
trumpet and trombone books, and solo chord changes to all the
books, so the horn players can solo. There are also a few notes
that vary from the recorded tracks. Books are available for alto
saxophone, tenor saxophone, trumpet, trombone, and drums.
The main goal of these books is to teach the art of ensemble
playing. You will learn volumes of information about style,
phrasing, tone, dynamics, technique, articulation, playing in time,
Latin grooves, and a variety of swing styles as you play along and
listen to the players in the Phat Band.
Participating in this series are the lead players from the Big
Phat Band. These musicians are all world-class performers, and
their guidance will be invaluable as you dig into this music.
9 Engraving: Rick Pansier
Wayne Bergeron is a one-of-a-kind lead trumpet player
whose strong chops and great musicality make him one of
the most in-demand musicians in Los Angeles.
9
Bernie Dresel, one of the most musical and well-rounded
drummers on the scene today, can play in any style, sight-
read anything, and is also an accomplished orchestral
percussionist.
INTRODUCTION
« Eric Marienthal, a remarkable saxophonist, can be heard
on recordings with the Chick Corea Electric Band and the
Rippingtons, as well as on many recordings under his own
name.
• Andy Martin, a superb improviser and one of the most
facile trombonists in Los Angeles, sets a new standard for
jazz trombone.
Since improvisation is an important facet in jazz, I have included
chord changes for the solo sections in the saxophone, trumpet,
and trombone books. The play-along CD has the solos mixed out
so that you can jump in and blow! Selected transcriptions of some
of the solos recorded by various band members are included in
the saxophone, trumpet, and trombone books. You can use these
transcribed solos to study, practice as etudes, or simply play in
the solo sections. On the drum book CD, the original horn solos
have been kept intact so you can play off the soloist. In addition,
a Q&A session with Bernie Dresel and myself discusses aspects 01
big-band drumming.
To get the most out of the play-along CD, you can of course
use headphones as you play along with the tracks, but for me
the most realistic acoustical environment is to listen to the music
through speakers with your ears unhindered by headphones. The
key is to be able to hear yourself as well as everybody else in the
band, and headphones can sometimes prevent you from hearing
yourself well enough unless you take one ear off.
I have a policy in the Big Phat Band: on our gigs we corn*
to play. The band works hard, no one makes excuses, and ever)
player goes for it every night, all the while havin' a blast. I hops
you have fun working with this book and it helps you grow as ;
musician.
www.gordongoodwin.com
Gordon Goodwin's Big Phat Band CDs—Swing/n' for the Fences, XXL,
and The Phot Pock—are available on
Silver-line Records (www.silverlinerecords.com)
Photography by Rex Bullington (www.Rexbullington.com)
Additional photos by Tessa Viles and Linda Griffin
Editor: Pete BarenBregge
Production Coordinator: Sharon Marlow
Art Design: Thais Yanes
© 2006 WINGOOD MUSIC PRODUCTIONS, INC.
All Rights Reserved including Public Performance
Exclusive Worldwide Distributor: ALFRED PUBLISHING CO, INC.
Any duplication, adaptation or arrangement of the compositions contained in this
collection requires the written consent of the Publisher.
No part of this book may be photocopied or reproduced in any way without permissioi
Unauthorized uses are an infringement of the U.S.
Copyright Act and are punishable by law.
 CONTENTS

Gordon Goodwin Biography 3

Eric Marienthal Biography 4
Transcribed Saxophone Solos 63
Alternate Soprano Saxophone Parts 69

Page # Demo track Play-Along track

SWINGIN' FOR THE FENCES 7 Track 1

(Swingin* for the Fences, Silverline - 85002-2) Track 2

LA ALMEJA PEQUENA 12 Track 3

(The Phat Pack, Silverline - 284404-2) Track 4

HUNTING WABBITS 18 Track 5

(XXL, Silverline - 281206-2) Track 6

WHODUNNIT? 23 Track 7
(The Phot Pack, Silverline - 284404-2) ...Track 8

COUNT BUBBA'S REVENGE 29 Track 9

(The Phot Pock, Silverline ~ 284404-2) Track 10

GET IN LINE 34 Track 11

(The Phat Pack, Silverline - 284404-2) Track 12

HORN OF PUENTE 39 Track 13

(XXL, Silverline - 281206-2) '. Track 14

THE JAZZ POLICE 46 Track 15

(XXL, Silverline - 281206-2) , Track 16

HIGH MAINTENANCE 51 Track 17

(XXL, Silverline - 281206-2) Track 18

CUT'N RUN 57 Track 19

(The Phot Pack, Silverline - 284404-2) Track 20

Full-version CD and DVD dual disc of all of these titles are

available from your favorite music store.
Visit: www.silverlinerecords.com
G
ORDON GOODWIN - As a three-time
Emmy winner and a multi-Grammy nominee,
Gordon Goodwin could say he has fulfilled his
dreams and achieved all of his goals. But that
isn't the case—not by a long shot. The composer/arranger
released his second album, XXL, in September 2003,
receiving three Grammy nominations for Best Large Jazz
Ensemble Album, Best Instrumental Composition ("Hunting
Wabbits"), and Best Instrumental Arrangement with Vocals
("Comes Love" with Brian McKnight and Take 6).
It all began at the tender age of five, when Gordon
Goodwin began composing from the music he heard in
his head. Not just snippets or melody lines, but whole
compositions from beginning to end. He wrote his first big The Big Phat Band's third CD, The Phot Pock, is
band chart, "Hang Loose," at the age of 13. This almost scheduled for release in the spring of 2006, on Silverline
preternatural talent made him stand out in the jazz world Records.
and brought Goodwin to the attention of music supervisors
and producers.
Within the television and film industry, GORDON GOODWIN'S
Goodwin's writing has garnered him three Emmy
awards and six Grammy nominations. His cinematic
scoring and orchestration can be heard on such
films as National Treasure, The Incredibles, Bad Boys
II, The Majestic, Con Air, Gone in 60 Seconds, Enemy
of the State, Remember the Titans, Star Trek Nemesis,
Armageddon, and the classic cult film Attack of the
K/7/er Tomatoes.
Throughout his career, Goodwin has built a larger-than-
life reputation for his composing, arranging, and musical
instrumentation skills. Christina Aguilera, Quincy Jones,
Mel Torme, David Foster, Toni Braxton, Ray Charles, Sarah
Vaughan, Brian McKnight, and Johnny Mathis are just a
few of the artists for whom he has written, recorded,
and performed. In addition, he has conducted with world-
renowned symphony orchestras in Atlanta, Dallas, Utah,
Seattle, Toronto, and London.
Goodwin combines all of these talents as leader of L.A.'s
most exciting big band jazz ensemble, Gordon Goodwin's
Big Phat Band. Established in 2000, the band released its
debut record, Swingin' for the Fences (Silverline Records),
which made history as the first commercially available DVD
audio title ever released and the first DVD audio title to
receive two Grammy nominations.
Building on the tremendous success of their first album,
Gordon and the boys returned to the studio and raised
the ante, along with the roof. XXL is an exciting blend of
jazz styles that stretches the boundaries of the big band
genre. Along with his usual stable of L.A.'s finest musicians,
including Eric Marienthal, Wayne Bergeron, Andy Martin,
Bob Summers, Brian Scanlon, Luis Conte, and Bernie Dresel,
this album features both legendary and contemporary guest
artists. R&B great Brian McKnight teams up with vocal group
Take 6 on the '30s classic "Comes Love," legendary crooner
Johnny Mathis provides a knockout performance of "Let the
Good Times Roll," and Take 6 takes the lead on Goodwin's
arrangement of "It's All Right With Me." Jazz greats Eddie
Daniels, Michael Brecker, and Peter Erskine are also guest
soloists on the record. The bold arrangements coupled with
memory-evoking yet modern music are heart-stopping.
Sold-out L.A.-area performances by Gordon Goodwin's
Bjg phat Band are testimony to the genius of Goodwin's
musjc and have eamed the group hign crjtica| acdaim and
praise. .The Bjg phat Band has established itself as one of
the Southland's most craftsman-like hard-swinging large jazz
ensembles, galvanized by Goodwin's witty and insightful
arrangements and compositions." —Don Heckman, Los
Angeles Times.
Acknowledgments
Keeping a big band operating is a huge endeavor, and
I am indebted to the many people who contribute to
the band and to th/s series of books.
• The guys in the Big Phat Band—they are an amazing
gift to any composer.
• To my friend and co-producer Dan Savant, who is a
master at solving either business or creative issues,
sometimes at the same time.
« To Pete BarenBregge, my editor at Alfred, whose
vision and unwavering support really made this book
happen.
• To my wife Lisa, who has made my passion her
passion and knows firsthand the demands of running
an organization like this one!
» To my multitalented assistant Linda, who hits every
assignment out of the park—without exception.
» To Silverline Records, who believed in big band jazz
when nobody else in the industry did.
• To our recording engineers and mixers Tommy Vicari,
Mike Aarvold, and Gary Lux, who are responsible for
the sparkling and punchy sound of our records. It's
more than just pushing buttons; you have to get it,
and they do.
 ERIC
MARIENTHAL
World-class saxophone artist, composer, arranger, and
educator, Eric Marienthal has played on literally hundreds of
records, TV shows, and films, such as "Frasier," "Cheers,"
"Sisters," "Charlie Brown Specials," "Entertainment Tonight,"
"General Hospital," "Santa Barbara," "ABC Sports," Payback,
Bird on a Wire, and Gone in 60 Seconds. Eric has been recording
jingles in Los Angeles for the past 20 years for companies such
as Nike, McDonald's, Coca-Cola, Cadillac, Ford Motors, and
many others. He has recorded ten solo CDs for GRP records, two for Polygram, and three on Peak Records. His mo
recent CD is entitled Got You Covered

Eric has performed concerts and presented master classes in more than 60 countries throughout the world. In additic
to performing with the Chick Corea Elektric Band, Eric has an extensive discography. He has recorded and performed wii
Dave Grusin, Lee Ritenour, Elton John, Barbra Streisand, Billy Joel, Johnny Mathis, Liza Minelli, David Benoit, Patti Austi
Jonathan Butler, the Rippingtons, and many more.

Awards honors:
1988 - Grammy with the Chick Corea Elektric Band
1988 - Grammy nomination for Best Instrumental Jazz Performance for the album Light Years
1989 - Grammy nomination for Best Instrumental Jazz Performance for the album Eye of the Beholder
1990 - Grammy with the Chick Corea Elektric Band
1995 - Distinguished Alumnus Award for outstanding achievements in contemporary music from Berklee College
Music
1997 _ Among the top alto saxophonists in Jazziz magazine's readers' poll

Books and instructional videos with Alfred Publishing:

Comprehensive Jazz Studies and Exercises, written by Eric Marienthal (book)
Modern Sax, written and produced by Eric Marienthal (video)
Play Sax From Day One, written and produced by Eric Marienthal (video)
Tricks of the Trade, written and produced by Eric Marienthal (video)
Ultimate Jazz Play-Along, written by Eric Marienthal (video)
The Music of Eric Marienthal: Solo Transcriptions and Master Class CD (book/CD)
SWINGIN' FOR THE FENCES
PERFORMANCE NOTES

On "Swingin' for the Fences, "it's all about the tir

Before you even pick up your horn, listen to the band f
By GORDON GOODWIN and internalize the tempo so-that when you begin playi
your time feels good from the first note. When y<
entrance comes along at measure 65, make sure to listen
This chart is based on the chord changes to "Sweet
the bass and the drummer's hi-hat so you can lock righ
Georgia Brown" and is meant to be an acrobatic display
on the time and the feel. Also, make sure you are lister
of your technique on a complex bebop line. Therefore, I
for the flute, piano, and muted trumpet so you can bl<
recommend practicing the section in measures 65-96 until
and not overpower those instruments.
it is second nature. It is not necessary to play this line very
loudly in fact, it's meant to be a lighter color in contrast to
If you play the improv solo, the first thing you v\
the trombone/tenor line that opened the chart. So, blow
to do is make sure you know the melody. Next, learr
lightly and float nicely over the time.
the notes of each chord in the chord progression. I
through each arpeggio—root, 3rd, 5th, and 7th and t
The chords to this song are really fun to improvise on, the corresponding chord scale. Make sure you can hear
and there are countless jazz recordings you can check out recording well enough so you can lock-in your solo time \
to hear how great players have soloed on these changes. the rhythm section. Listen for the bass and hi-hat for
It does help to have knowledge of the bebop vocabulary, tempo, the ride cymbal and the rest of the drum kit for
but when you're improvising, melody is king and it is often feel, and the piano and guitar for the harmony. When
more effective than a bunch of random notes. The first step improvise, think of melodies, motifs, and phrases when
toward improvisation is to learn and memorize the melody improvise instead of individual notes. One improv techn
and the sound of the chord progression. Know this tune is to begin and end each of your phrases on a chord 1
inside and out. Listen to how the chords move in a dominant such as a 3rd or 5th—try it!
pattern—live it, learn it, love it. Check out Eric Marienthal's
transcribed solo on page 63. At measure 130 keep your playing confident but I
If you play with too much embouchure pressure, it wi
more difficult to play evenly. Part of your attention nee<
stay focused on the instruments that are defining the t
which are again, the bass and hi-hat. At the same time
important to listen to how the lead trumpet is playing
part and try to match it. Think about leading the saxes
don't allow your volume to rise too far above the secti<
By ERIC MARIENTHAL you play too hard, your pitch and accuracy will fly ou
window! Check out the alternate soprano part.
Playing the lead alto chair in the Big Phat Band requires
concentration on many things simultaneously, such as blend,
intonation, articulation, phrasing, establishing the groove,
listening to the lead trumpet and matching that style, pitch,
sound, and feel.

Playing in this sax section alongside of Sal Lozano, Brian

Scanlon, Jeff Driskill, and Jay Mason is amazing. This sax
section doesn't let anything slip through the cracks, so as
you play along, pay attention to every detail. Try recording
yourself while you play along with the band and see how
close you can get to the Phat Band. I hope you have fun
being the "virtual" lead alto player.
 SWINGIN1 FOR THE FENCES

AUTO iAVOMMM GORDON GOODWIN CASCAPD

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LA ALMEJA PEQUENA
PERFORMANCE NOTES

By GORDON GOODWIN By ERIC MARIENTHAL

I like the sound of a soprano sax leading the sax section. This chart has an alto part and an alternate soprano
In certain settings, it sounds a bit more contemporary than a part. My comments are directed more toward the soprano,
traditional alto sax lead and it gives me an additional color to but they apply to the alto as well.
use in my orchestration. If you don't yet own a soprano, try
to get your hands on one someday—it's a lot of fun to play! As you may have noticed, Gordon likes to write a
In this chart, the soprano spends a little time in its lower lot for the soprano sax. I love playing soprano, but it's a
register in measures 25, 26, and 48. Beware of pitch and tricky instrument to sound good on and play in tune. Make
make sure you don't play flat on those low notes. The pitch sure you have a mouthpiece-and-reed combination that
on the soprano can be a little squirrelly, to say the least. Thefeels comfortable to play. If the reed is too hard or the
alternate soprano sax part is found on page 72. mouthpiece is too open, it will be almost impossible to play
it easily and in tune. If the reed is old or too soft or the
Latin music requires precise rhythmic interpretation. mouthpiece too closed at the tip, your sound will probably
The time must be locked and secure. Once in a while the be weak and thin.
ensemble may lay back on a figure for effect, but that
kind of thing works only in contrast to the more strict Throughout this chart pay very close attention to the
interpretations that precede it. For example, look at articulation and dynamic markings that Gordon has written,
measures 97 and 238, where the triplets in those measures To me dynamics are where the life of the music comes from,
are an attempt to loosen things up a little bit in the midst of Before you begin playing, give a listen to how the saxes are
all the straight eighth notes going on throughout the chart. playing the articulations and how great it sounds when the
entire band plays them together. Try to bring that same
When soloing on this tune, you should remember the attention to detail into the bands you play with.
inherent passion behind all Latin music. In other words,
go for it! You can check out Wayne Bergeron's and Andy At measure 69, don't let the time signatures trip you
Martin's solos on the Phat Band's CD The Phat Pack. Both up. Try to continue to tap your foot and count your wa>
of them do a great job of playing exciting yet musically through the meter shift. No matter whether it's 4/4, 6/4
intriguing solos. or 7/4, the tempo, note values, and pulse are constant. Ir
other words, a quarter note is still a quarter note, an eighth
After the solo section, you begin a long vamp starting is still an eighth and so on. Simply count each beat and thi:
in measure 153 that needs to begin softly and build as each mixed meter section will play itself.
independent horn part is layered on. Be aware of how the
individual part fits into the whole, not only here but also As you get to about measure 225 and beyond, if you're
at measure 195 where the melody jumps from section to like me, your mouth is going to begin feeling a little tired
section. Maintaining the proper balance in a passage like this Pace yourself, don't play too hard, use your air to suppor
takes teamwork and an awareness of not only your specific your sound. You always want to use a relatively relaxec
part but also of what's going on around you. I hope you embouchure so the reed can vibrate. Not so relaxed
have fun with this tune and that you avoid all clams, large however, that your pitch and tone begin to suffer. Like al
and small! the woodwinds, the more long tones you practice the mon
control you'll have over your sound and intonation.

If you solo, start easy and pace yourself, buildin]

gradually. Listen to the sound of the chord roots, know th<
notes of the chord, and listen carefully to the rhythm section
When you're soloing between band kicks at measure 93, it'
especially important to play with good time!
 LA ALMEJA PEQUENA
"THE LITTLE CLAM"

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"Hunting Wabbits" is written only for soprano This is one of my personal favorites of the Big Ph
saxophone. I love to drop the rhythm section out once in Band charts. From measures 1 to 29 the responsibility
a while; it gives the horn sections an opportunity to play keeping the tempo falls on your shoulders! There's no be
a little softer, and the audience can hear subtleties that or hi-hat to listen for. Therefore, the only way to keep
are normally covered up by the drums. On this chart the steady and even time feel on a soli like this is to have a go<
opening soli should be approached with a legit concept. If strong internal clock, and the only way to develop that
you have had instruction in playing classical saxophone and to practice with a metronome. Whether you're practici
producing a round, classical sound, then you know what to scales, exercises, etudes or any music with a beat, ke
do here. If you have not had any experience in that area, the metronome going and don't allow a single note to
I suggest simply playing it straight-not swung, no vibrato, P'ayed out of time. Keep your playing on this soli light
and with a light tongue. And pay careful attention to the /our time and phrasing feel like they're bouncing alo
dynamics, for example, the crescendos in measures 7, 15, instead of getting bogged down. The run of sixteenth not
and 25. Above all, lock-in that intonation! Do not put in any in measure 73 has to be played just as evenly and in time
scoops or any other typical jazzy inflections. Save those for all the eighth-note lines. The rhythmically difficult measur
measure 87, where, after several minutes of legit, straight 'ike 84 must be right in time as well,
eighth-note staccato passages, the band bursts out into a
swing feel. Make sure vou pay attention to the other instrumei
you're playing with, such as the trombone at measi
In a typical legit sax quartet, the players will play with a 127, and work to blend your sound. Gordon orchestral
much lighter sound than most jazz players use, and chances different combinations of instruments together to j
are your mouthpiece might be more geared toward a more different sounds and colors out of the band, so be care
aggressive style of playing. So you might have to make a not to stick out in the texture,
concerted effort to play light and to blend. Of course, when
At
you get to the improvised solo in measure 87, go ahead and the solo section there is a huge change of feel as t
cut loose! chart moves to a relaxed swing. Play in the style, learn t
changes, and take it easy—enjoy yourself!
1B
HUNTING WABBITS

GORDON GOODWIN CASCAP]

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22
WHODUNNIT?
PERFORMANCE NOTES
By GORDON GOODWIN
If you've ever seen an old private-eye movie, then you
understand the right feel for this chart—sneaky, bluesy,
and too cool for the room. When you state the melody at
measure 10, the dynamic is mp\ on second thought, maybe
I should have marked it p. Really whisper that line and
especially those low Bs in measures 13 and 21. Do you have
a mouthpiece that will allow you to play low notes quietly? I
know I didn't when I was playing in my earlier days. We all
strive to find a mouthpiece and reed set-up that will allow us
to cover the entire spectrum, to play loud and screamin' and
then turn around and play quiet and sensitive—and always in
tune. But I digress.
This tune should stay fairly calm until measure 60, where
things begin to build. Don't miss the dynamic change in beat
3 of measure 72—that's a hole you don't want to fall into!
Then keep building up to those five huge chords that lead
into the solo section. The whole band's gotta pound those
chords out—really cream 'em!
If you are soloing on this tune, you might want to check
out the legendary tenor player Plas Johnson's classic solo
on Henry Mancini's "Pink Panther" theme. Even though
Johnson is a tenor player, that mellow, low-register, breathy
sound is a pretty cool vibe for this kind of tune. Always solo
in the style of the chart.
After the solo section, there's a sax soli that should
start out nice and easy. Save the volume for measure 145,
and when you hit those nasty triplets, blow straight through
them so each note sounds. Same for the sixteenth notes
in measures 147-148 then blow through to the end of the
phrase. Which reminds me, a strong air stream is important
whether you are playing loud or soft. Soft passages still need
to sound intense, like at the beginning of this chart, and
proper diaphragm support is key to accomplishing that. But
I digress, again.
After the soli we hit the shout chorus at measure 175,
and now it's time to blow full out! It's the upper four saxes
against all the brass and the baritone sax, so go for it. And
just when you think you've reached the climax of this chart,
you get to measure 191, which requires the band to step
things up yet another notch. Hey, I'm not worried—you're
up for it, right?
By ERICMARIENTHAL
Check out the sax unisons in this tune. In your firs
entrance at measure 10, don't think quite as much aboi
playing lead alto; instead, think about the fact that it's fiv
players creating one sound. It's all about the pitch! Listen t
the whole section and blend your sound and pitch exactl
with everyone else. In your own band, always listen aero;
the section. Don't allow yourself or anyone else to stick 01
or play too soft. As the lead player, you need to establis
how the section should play the lines but make sure the en
result is one tight and in-tune section sound.
At measure 44, where your part goes up an octav
make sure you're still blending with your section and th;
the octaves are in tune. Listen for those out-of-tune puls<
or warbles. If there's no warble, you're in there!
The lead trumpet player always determines the length •
the fall-off in measures 89 and 90, so it is important to list*
for and match the lead trumpet.
The sax soli from measures 131 to 175 is a serio
challenge, especially the triplets at measure 145. Like a
difficult lick, work on it slowly and with control and ma
sure every note speaks. Another tip is to realize that t'
time doesn't change whether you're playing something ea
or hard. Once you have the notes under your fingers, rels
tap your foot, and think one beat at a time.
Solo-wise, begin mellow and build to a fairly aggressi
approach. Learn the melody; learn the notes in the chc
changes and scales. Then go for it. Always keep in mind i
okay to play snippets and ideas from the melody. Check c
the solos in the full-length version on The Phot Pack CD.
 WHODUNNIT?

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2B
COUNT BUBBA'S REVENGE
PERFORMANCE NOTES
By GORDON GOODWIN
The shuffle feel is one of my favorites, and to make
it happen all you have to do is swing the eighth notes a
little harder and it gives the music the essential forward
movement. You will want to get the shuffle feel into your
mind and body so that when the rhythm section drops out
at measure 74, the a cappella sax section keeps the time
moving. The challenge is actually more difficult when you
are not playing than it is when you are. For example, in
measure 75, the 1 1/2 beat rest can bog down the whole
soli if you let it—don't come in late! Be sure to observe the
dynamics in measures 74 and 76 and the phrasing accents
at measures 86 and 87. After the solo section, take is easy
on the volume, because with the rhythm section tacet, the
audience can really hear the nuances in your phrasing, so
play all the dynamics and accents. When the rhythm section
comes in again, you can ride with them and build to your
soli at measure 226. This time go for it—play full out with a
big sound because the band is headed to the shout chorus at
measure 244. From this point on out, just romp and stomp
your way to the end, remembering to keep those rhythms
nice and tight!
For the improv solo, I suggest getting used to hearing the
roots of the chord progression and then, depending on your
knowledge of chords, learn the notes of each chord and any
common tones. Then you can begin to weave through these
changes and create some music of your own.
By ERIC MARIENTHAL
Besides playing in time, playing with good intonat
leading the section, making all the articulations and dynar
and not making any mistakes, playing this chart is a piec
cake! Your section leadership really comes into play on
one. My advice is to take a few moments to listen to the
the saxes are playing before you dive in. Then take ch
of the section. Match the rhythm section concept and
overall swing feel that drummer Bernie Dresel is ere;
on the drums when you play your eighth notes. The li<
measure 47 is begging to go sharp, so keep the air me
through your instrument to hold the pitch down. Matd
phrasing of the trumpets at measure 57.
At measure 74 the time is all you! Keep that metroni
time and good swing feel going throughout this soli and 1
on leading the section. If the lead alto plays consistently
confidently, the section will respond by playing with r
confidence and ease about their parts as well.
At measure 126 and similar situations where you
the choice of which B-flat fingering to use, my advi
never slide to the bis key from the B key or vise vers;
in this measure I used the side B-flat in beat 3 to avoi<
slide up to the B-natural. There are plenty of great pi;
who think about the B-flat fingerings differently, but
do they know? Just'kidding!
At measure 213 listen for the way the lead trumpe
back at the end of the measure. If you play this chart
your own band, it's important for the band (or the dire
to make a decision as to how far to lay it back. The
important thing is to agree on how it should be playe<
then play it together.
The articulations throughout this whole tune are
tight, exaggerated, and definite. Again, the important th
to listen to how the band plays them and really try to r
the band as you play along with the CD.
For the improv solo, check out the chord progres:
it's not that difficult, but it goes where you might not e
to hear it. Get comfortable with the sound of the <
root progression and then learn the chord tones and s
Always play in the style of the chart.
COUNT BUBBA'S REVENGE

GORDON GOODWIN CASCAP3

SHUKLC Groove

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GET IN LINE
PERFORMANCE NOTES
By GORDON GOODWIN
When playing a contemporary chart like this one, you
must commit to the stylistic parameters. That means playing
these licks with soul, tightness, and precision. Listen to
lead alto Eric Marienthal and all the other saxes and all th«=s
horns, for that matter on the Phat Band's CD recording of
this chart and you can hear how every horn player supports
each phrase with a strong air stream. The sixteenth notes
in measure 8 should not be tossed off casually but played
deliberately and with intent. Many of the licks in this chart
emulate a solo instrument or vocal, so as a group the band
must phrase together as one, perhaps even more so than on
a traditional swing chart. Listen closely to the other sections
to make sure all the articulations are the same, including the
note lengths, the scoops, falls, pace of crescendos, type of
vibrato, and so on. There is a difference in the manner of
vibrato and tone production for each musical style. Listen
to how the saxes in the Phat Band change their approach
depending on the genre of the chart.
There is not typically a wide range of dynamics in funk
music, but the section after the solos beginning in measure
91 provides a chance to bring the volume down a bit,
allowing the groove some room to build again.
If you are soloing on this tune, you will find that the
usual bluesy pentatonic licks work really well, but don't be
afraid to try some new stuff. Listen to the sound of the root
chord progression and become familiar with the notes in the
chords. Whatever you play, it should have energy and feel
good and funky! Check out Eric Marienthal's transcribed
solo on page 65.
33
By ERIC MARIENTHAL
Just listening to Grant Geismann's guitar comping at
the very beginning of this tune, you know it's going to be
superfunky, tight, and precise. Before you begin playing,
listen to the time, the feel, and the intensity of the band.
Every note has to be in the pocket or it won't groove. For
the very first four notes you play in measure 16, make sure
those sixteenths subdivide beat 1 exactly. If those notes lag
behind the time, then beat 2 will be late and you'll be playing
catch-up—and that is a problem!
Check out the section beginning at measure 50. Make
sure you hit those accents harder than the staccatos. Doing
so really creates a cool effect. Pay close attention to how
the rhythm section is grooving with even eighth notes all the
way. If you let any of these phrases get ahead, fall behind,
or not groove with the rhythm section, the feel of the saxes
will not be locked in.
Articulation is especially important in this chart. Make
sure you really engage your tongue. The short notes have to
have a good punch to them, especially the accented notes.
At the same time, make sure that the short notes have a
full tone. Don't choke off the note so much you can hardly
hear what pitch you're playing. The goal is to play the notes
short but full.
For the improv solo section, funky is good! Keep it
moving and try some blues notes—flatted 3rds, 7ths, and
the occasional flat 5th.
 GET IN LINE

GORDON GOODWIN CASCAP)

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This Edition © SOOB WINGOOD MUSIC PRODUCTIONS, INC.
All Rights Reserved including Public Performance
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38

HORN OF PUENTE
PERFORMANCE NOTES
Beginning at measure 9, where you play along with t
trumpet, make sure to really listen so you can blend. I
By GORDON GOODWIN even more crucial starting at measure 19, where the teno
Wayne, and you are playing irrunison. Note that Sal Loza
I decided to give you the 2nd alto part on this chart so is the 2nd alto player in the band. I highly recommend y
you can have an opportunity to play an inner part in a fairly check out how perfectly his playing is on every tune. I
complex soli. Playing inner parts is often more difficult than sound, phrasing, and pitch are spot-on—always.
playing the lead line because sometimes the voice leading
can be tricky and you need to concentrate on phrasing and Make sure your part is played in context to the voicii
blend even more so than the lead player, who can dictate so it sounds even, balanced, and blended. Keep y<
those things according to his or her whim. The melodic attention focused on Wayne's playing so that when you p
group begins at measure 9 and consists of trumpet, alto, together, everything is lining up. That means pitch, tir
and two tenors. I add a flute for color at measure 42, so dynamics, articulation—everything!
listen and blend. Listen to trumpeter Wayne Bergeron and
the guys and catch all the accents, the back phrasing, and all Throughout the rest of the chart, some of the rhyth
the nuance of this soli. in Gordon's lines are tricky. If you subdivide every beat i
sixteenth notes, it'll be much less confusing to read,
The solo section on this tune is hot, hot, hot. You're looking at each lick a beat at a time.
going to have to go for it, but remember there is a ways to
go, so pace yourself. Your solo should have a good arc to The Latin cha-cha feel of this tune is relaxed and alnr
it. You can hear Wayne doing his solo thing on this tune on feels like it's pulling back, but it's not—it's the groove. Lis
the CD XXL, and as you can imagine, the high notes on the listen, listen! Make sure to match the groove in all of >
trumpet are tailor-made for this groove. Solo-wise, energy is phrases. Don't allow yourself to play too hard or witf
the key ingredient in this type of chart. Build, phrase, listen to much pressure that you have a difficult time matching wr
the rhythm section and the groove, play off any backgrounds being played around you. In other words, don't be a bi
you may hear and always feel free to incorporate motives a china shop. Playing the 2nd alto chair in a big band m<
from the melody in a solo. Keep in mind that in a tune like you're always blending with other instruments. Use !
this, the rule of showbiz dictates that you'll need to find playing as an example as you play along with the band.
your own way to bring the crowd to its feet.
For the solo section, keep in mind this chart was wri
The sax licks get fancier after the solos beginning at as a trumpet feature with high-energy brass licks. Therel
measure 153. You know the drill; practice them slowly and to make it work for the saxophone, consider playir
work them up to speed. Salsa music is the best! bright, edgy, and full of energy. Don't over-blow, but
strong. You can use snippets of the melody, some licks 1
the chart, and other simple devices to get yourself g
on this one. Another approach is to begin the solo so
sparse and build in intensity, using some higher notes 01
By ERIC MARIENTHAL horn at the peak. If you have altissimo chops, this wou
a nice opportunity to use them.
My comments on this chart refer to the approach to the
2nd alto part.

This is a great feature for one of the most amazing

trumpet players you'll ever hear. If you have the Big Phat
Band CD XXL, check out the way Wayne Bergeron plays the
melodies smooth and melodic at the beginning. You know
what's coming later in the song; some wailin' soloing and
killer high notes!
 39

HORN OF PUENTE

GORDON GOODWIN CASCAPJ

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GORDON GOODWIN'S
 45

THE JAZZ
PERFORMANCE NOTES

By GORDON GOODWIN By ERIC MARIENTHAL

This chart features one of my favorite color sounds: the Play this tune with intensity, but be careful not to blow
trumpets and saxes playing the same material in the same so hard that you push yourself out of tune or distort your
register as in measures 9-21. For this sound, the trumpets sound. Remember that when you want to play loud, the
provide the power, but the saxes provide the hipness. Bends difference between playing at 90 percent of your available
and vibrato are not as easy for trumpets as they are for you pressure and 100 percent isn't really going to change your
sax players, and you'll have to work with the trumpets to actual volume. In other words, don't push as hard as you
agree on a concept. This chart requires constant energy, can when you want to play loud. Always keep a little in
but just because it's rockin' hard throughout doesn't mean reserve. That way you'll be able to control your technique,
you throw all subtlety out the window. There are plenty of articulation, intonation and everything else much more
opportunities for (1) dynamics, like measures 20, 36,40, and easily and still have plenty of intensity.
58, to name a few; (2) phrasing, for example, the accents
and scoops in measures 9, 10, and 36; and (3) articulation When you play a scoop like in measure 9, make sure
throughout. These musical issues all are important in a not to overdo it. As with any kind of inflection, make sure
nuanced performance. Listen carefully during the unison it's part of the written note and not a different note. Keep
sections: articulate, phrase, blend, and tune with the rest the support going with your air and create the scoop with
of the band. In this style groove it's very important to play y°ur embouchure,
all the eighth notes on top of the beat, never laid-back but
always pushing forward. And toward the end of the chart Take a big breath at measure 120 to make it through that
around measure 113, is where the whole band will have to whole phrase. You never want to get into a situation where
dig down and pitch in to push this chart to the finish line. • you're struggling for air at the end of a lick.

For the solo section: It's rock, it's got energy, it's straight
eighth notes, it's sort of bluesy, so try some flatted 3rds and
5ths. Let the horn scream for you!
 THE JAZZ POLICE

GORDON GOODWIN CASCAP]

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HIGH MAINTENANCE
PERFORMANCE NOTES

By GORDON GOODWIN By ERIC MARIENTHAL

Your musical decisions as lead alto player determine Here's a hard-drivin" shuffle tune that the band real
how your section sounds. You have to be willing, along with sinks its teeth into every time we play it. Take a minute t
the band director, to compel your section mates to follow listen to the rhythm section, particularly how they're layir
your musical cues. Look at measure 8. When do you begin down the groove. When you play the soli starting at measui
that upward gliss? Look at the crescendos in measures 17, 17, really sit on those accents on the Gs. Even though it's
19, and 21. If you don't do those, neither will the rest of driving groove, don't be in a hurry to get to the downbeat
the section. Look at the bend in measure 31. When do you It's a fat (or Phat) kind of feel, so literally put a lot of weig!
get completely up to pitch? Look at the sustained notes on each beat and put each figure right in the pocket.
that begin at measure 191. Are you going to use vibrato?
How much? All of these decisions and more are your The soli at 143 is a fun one. Being a sax player himse
responsibility. Make sure you have a definite game plan so Gordon knows how to write these solis so they lay nice
you can convey these instructions to your section mates. As on the horn; although they're not always easy, but sin'
lead alto, this is your job. Gordon can play all of this stuff himself, I just practice at
try not embarrass myself! In measure 156 tongue the fir
An accurate and tight rhythmic concept is important for note of each triplet and it will lay better. Play measure 1"
this chart. If you place the figures right with the beat, the nice and even and make sure the time lines up with tl
music will keep pressing forward. This is especially important rhythm section and the band. If your time isn't precise, tl
in measures 125-140, where the rhythm section is tacet. section doesn't stand a chance of playing together. Also,
The sax soli at measure 143 is all about the rhythm—keep measure 239 make sure you have a good firm grip on t
it moving! Eric Marienthal plays with an extremely strong tempo when you begin playing that unison sax line. T
rhythmic feel, and you can really hear that when listening to supporting lines played in the trombone section are lini
his performance of this soli. Be sure to catch all the accents up with you, so I'll say it again—lay that time down nice a
in measures 146,166, and 167 and the dynamics in measures solid.
147-148, 175-176, and 188. When it comes to phrasing,
each style has it's own conventions that are consistent. For During the solo section, learn the chord progressic
instance, in a swing feel, an eighth note on the "and" of beat chords, and scales. You can begin easy and build in this so
2, as in measures 159 and 163, is always going to be accented Try playing off the backgrounds for some ideas.
even if it's not written. An eighth note on the "and" of beat
4, for example measures 163 and 164, is always going to be
short. The more you listen to and play a particular style,
you will absorb those stylistic attributes so that they become
automatic.

If you improvise on this chart, you will find that playing

blues licks (the blues scale) over the passing chords works
pretty well. But I hope you will take the next step and work
on creating lines and melodies that fit over the changes.
Trust your ears! As I've said before, the first step toward
improvisation is to learn/memorize the melody and the
sound of the chord progression. Check out Eric Marienthal's
transcribed solo on page 67.
 51
HIGH MAINTENANCE

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PERFORMANCE NOTES
At measure 17 make sure every note speaks in each
of those lines. It's okay to ghost a note inside of a line
By GORDON GOODWIN intentionally, because that's part of phrasing. But if notes
are ghosted because a line is jusTtoo difficult to play, it's
Think of this chart as a high-wire act. In a performance, obviously not going to sound good. Like any other difficult
you want your audience to be awed by the speed and agility line, slow it down when you practice and really play with
of your performance, so you better do your homework. control. It doesn't matter how slow; just get it down to
Eric Marienthal mentioned how much he practiced his part, where you can master the line. Don't speed up until you
and that's going be true for any of us who try to play this really own it.
chart. Stuff like this is definitely "use it or lose it," because
I notice that when the Phat Band hasn't played this chart Gordon is great about writing in the articulations he
in a while, the licks sort of start to slip away on us a little. wants to hear, so while you're practicing the notes, play
Muscle memory is an important thing for a musician, and the articulations too. When you see a fast eighth-note line
when music is flying by this quickly, you don't really have where the articulations aren't marked, tongue the notes
time to think about it. You need to rely on your instincts and that are on the upbeats. So if you have eight eighth notes
your preparation. Have you ever heard an athlete talk about in a row, for example, tongue the 2nd, 4th, 6th, and 8th
being in the zone? This happens when you have properly notes. This is a typical jazz approach. I'm probably telling
trained yourself and time actually seems to slow down, you something you already know, but it is important to
giving you an opportunity to make decisions efficiently and have independence with your tonguing. When you practice
spontaneously. If you put in the practice time, all of a sudden scales or other steady eighth-note exercises or motifs,
that fast tempo doesn't seem quite so break-neck. practice using different tonguing patterns to gain control and
dexterity, and accuracy with your articulation.
If you choose to solo on this track, you will find the
chord changes actually allow a fair amount of freedom. For If you have the full version of "Cut 'n Run" from The
instance, the first 12 measures are essentially over an A Phat Pack CD, check out Bob Summer's trumpet solo,
pedal. You can play a blues scale if you want, but you can Brian Scanlon's tenor solo, and Gordon's piano solo. Each
also float over that A pedal and play pretty much anything guy is totally burning! One of my favorite things about each
you want. Just go for it and keep that energy going! of their solos is that no matter what they play, there's nc
doubt about where they are harmonically, melodically, anc
rhythmically. If you solo on this tune, be sure you know the
components of each chord in the progression. Play through
the chord scales and arpeggios—the root, 3rd, 5th, and 7th
of each chord. One practice idea for creating good melodie;
in your soloing is to play a chord tone on the first and las'
By ERIC MARIENTHAL note of each phrase. To make it easier for you, try starting
with 3rd and 5th of the chord. For example, if you were
This is one of my favorite tunes in the book. I'm not playing a C7 chord, try starting and ending your licks on I
embarrassed to tell you I've spent many hours in the or G. Also, make sure you can hear the rhythm section wel
woodshed getting these lines under my fingers. I really so you can lock in with them. The feel and time in your sol<
wanted to know the lines well so I could be solid for the rest are just as important as the notes.
of the sax section. You want to be able to think more about
the feel of the lines instead of the individual notes.
 5~
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GORDON GOODWIN'S
INTRODUCTION TO SOLO TRANSCRIPTIONS

A
ll of the discussion about the principles of ensemble playing is important, to be sure. But if you
master all the techniques mentioned in this series, and even if you can play every one of these
charts note-perfect and flawlessly, you aren't quite done. Because jazz requires an element of
spontaneity, and it is that final element, the sense of freedom and exploration that we see in the
great jazz innovators, that will make you and your ensemble come alive. This is rather intangible and is acquired
only by listening and studying great improvisers—and there are plenty of examples both past and present. There
are also many masterful technicians on various instruments, players who can dazzle you with their sound and
mechanics. But what is rare is a musician who can do both. That is what I would ask you to aspire to. When
playing in the section, you are a team member and submit to the will of the group, but when it is your turn to
solo, you step up.
It is exactly this kind of musician we look for in the Big Phat Band. In this section of the book you will find
transcriptions of solos played by various Phat Band members. You can listen to them (if you have our CDs),
study them, and/or perform them yourself along with the track.

The selected transcribed solos are from these talented jazz musicians:
• Wayne Bergeron (trumpet)
• Gordon Goodwin (tenor sax)
• Eric Marienthal (alto sax and soprano sax)
• Andy Martin (trombone)
• Brian Scanlon (tenor sax)
• Bob Summers (trumpet)
SWINGIN1 FOR THE FENCES
Eric Marienthal's Alto Saxophone Solo

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Transcribed by ERIC MARIENTHAL

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Eric Marienthal's Alto Saxophone Solo

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Transcribed by BENNY GOLBIN

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Eric Marienthal's Alto Saxophone Solo

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 ISBN 0-7390-3965-2

\ *<0ot to **"B«n "The Jazz Polos," "Cut *o Baa." '( , ; /

* Ten % Gordon Goodwin

f »Play-along CD with track
f ' * Solo opportunities
| * Transcribed solos (sax, and trouibone)
\ o tips/suggestions by Gordon Goodwin and Ms lead players

Ootdop 0oodwia*s Big Pbat Band COsfDVDs—Swingm 'far fa Fences, XXL, and The, Phat Paek—m avaflaMe on
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